When I leave the chars for the city
They ask, ‘Oi, where is your house?’
How do I say, ‘In the heart of the Borogang
Amid silvery sands
Flickering between stalks of jhau grass
Where there are no roads, no chariots
Where the feet of big men seldom fall
Where the air is a grassy green
There, there is my home.’
When I leave the chars for the city
They ask, ‘Oi, what is your language?’
Just as the tongues of beasts and birds
Have no books, my language has no school
I draw a tune from my mother’s mouth
And sing Bhatiyali. I match rhythm with rhythm
Pain with pain
Clasp the sounds of the land close to my heart
And speak the whispers of the sand
The language of earth is the same everywhere.
They ask, ‘Oi, what is your jati?’
How do I tell them that my jati is man
That we are Hindu or Musalman
Until the earth makes us one.
They try to scare me, ‘Oi, when did you come here?’
I came from no ‘somewhere’
When Bajan left the chars for the city
With a bundle of jute leaves on his head
The police jumped on him without reason
And the examination
Of pieces of paper began
Every time Bajan passed with laurels.
Just because he was a sandman
They gave him many, many colourful names:
Choruwa they called him, Pamua, Mymensinghia
Some called him a Na-Asomiya
And some ‘Bideshi Miyah’
He carried these rashes on his heart
To his grave.
The rashes combined, raised their collective head and hissed at me.
O mister snake charmer
How long will you slither and slide
My son goes to college now
He has learnt to cuss like the city
He knows little but he knows well
The sweet twists and the sweet turns of poetry.
My Son has Learnt to Cuss like the City
Siraj Khan
translated from the Char Chapori dialect by Shalim M Hussain
Read the original in Char Chapori dialect
In Assam, the word ‘Miyah’ is street slang to refer to Muslims of Bengal-origin. It has connotations of barbarism, poverty, and general uncouthness. Since the 19th century, Muslim peasants have migrated from what is now Bangladesh to Assam, sometimes as climate refugees, sometimes as part of a British government agricultural policy. These Muslims of Bengal-origin reside mostly in the char-chaporis (river islands and river banks) of the Brahmaputra and its many tributaries, though there has been a slow movement towards towns and cities in recent times. The chars and chaporis are very unstable and subject to severe flooding and erosion every year. Moreover, they are relatively isolated from the cities and towns, and so the people here are deprived of modern amenities and government welfare. The development indicators demonstrate extreme poverty, with the literacy rate hovering around 10-15%.
People from this community constitute a large chunk of the menial labour force and the agricultural labour force in Assam. The word ‘Miyah’ is also used as a substitute for ‘Bangladeshi’, another slur used for the Muslims of Bengal-origin to suggest that they are either illegal residents of Assam or that they do not really belong.
Miyah poetry comes from a long tradition of poems written by Char-Chapori writers. It can be traced back to ‘Charuwar Ukti,’ a 1939 poem by Maulana Bande Ali, but matured in the 1980s with the backdrop of the Assam Agitation (1979-85). The Agitation started as a movement for ousting ‘outsiders’ from the state but turned into a campaign against the Assamese Muslims of Bengal-origin. The most powerful poems from the char-chapori poets came in the aftermath of the Nellie Massacre (February 18, 1983) during which more than 3000 people (mostly senior citizens, women, and children—all Muslims of Bengal-origin) were brutally massacred on a single day. When other forms of protest didn’t yield results (perpetrators of the Nellie massacre have not faced trial to this day) a handful of people channelized their grief and anger through poetry.
‘Miyah poetry’ proper started in May 2016. It maintains continuity with the angst and disillusionment of post-Nellie poets, while also trying to reinterpret the 'Miyah' identity. The poets who contribute to this movement are mostly young people who were born after the Assam Agitation but who have lived in the dark, depressing shadow of February 1983. They have lived the ignominy of being looked down upon as filthy inhumans and second-class citizens. Through their poems, they have tried to take on the word ‘Miyah’ and turn it on its head.
People from this community constitute a large chunk of the menial labour force and the agricultural labour force in Assam. The word ‘Miyah’ is also used as a substitute for ‘Bangladeshi’, another slur used for the Muslims of Bengal-origin to suggest that they are either illegal residents of Assam or that they do not really belong.
Miyah poetry comes from a long tradition of poems written by Char-Chapori writers. It can be traced back to ‘Charuwar Ukti,’ a 1939 poem by Maulana Bande Ali, but matured in the 1980s with the backdrop of the Assam Agitation (1979-85). The Agitation started as a movement for ousting ‘outsiders’ from the state but turned into a campaign against the Assamese Muslims of Bengal-origin. The most powerful poems from the char-chapori poets came in the aftermath of the Nellie Massacre (February 18, 1983) during which more than 3000 people (mostly senior citizens, women, and children—all Muslims of Bengal-origin) were brutally massacred on a single day. When other forms of protest didn’t yield results (perpetrators of the Nellie massacre have not faced trial to this day) a handful of people channelized their grief and anger through poetry.
‘Miyah poetry’ proper started in May 2016. It maintains continuity with the angst and disillusionment of post-Nellie poets, while also trying to reinterpret the 'Miyah' identity. The poets who contribute to this movement are mostly young people who were born after the Assam Agitation but who have lived in the dark, depressing shadow of February 1983. They have lived the ignominy of being looked down upon as filthy inhumans and second-class citizens. Through their poems, they have tried to take on the word ‘Miyah’ and turn it on its head.
Siraj Khan is a poet and social activist based in Tezpur, Assam.
Shalim M Hussain is a writer, translator, and researcher based in New Delhi.